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Self-confessed control freak Neal Foster shares his tips for writing, directing and performing your own work.
Get out there and treat critics like a dog treats lamp posts: playwright Tanika Gupta gives advice for 22 year olds.
A new pilot scheme led by Imaginate and National Theatre Scotland will bring live performances to 15,000 schoolchildren this autumn.
Rebecca Morland shares step-by-step advice for groups looking to save historic theatre buildings from decay, demolition or closure.
Director Judy Hegarty has been working for 20 years, and keeps returning to the writer Samuel Beckett. How can you find a similar source of inspiration?
Two years after hosting its first dementia friendly performance, West Yorkshire Playhouse has released a best-practice guide to putting on similar shows.
Bon Culture has apologised after physical access issues and high ticket costs prompted anger at its conference last week.
Storyteller Debs Newbold shows us her week: devising, performing, rambling and enjoying a huge bath.
Following shocking access at the Theatre 2016 conference, Andrew Miller asks: is this why so few disabled people work in theatre?
From Ovalhouse to Hoxton Hall, Karena Johnson reflects on her career making theatre with cojones.
The playhouse in Prescot will be based on Inigo Jones’ original design for a Jacobean theatre in Whitehall.
Liam Evans-Ford reveals the people and companies that have inspired his work making brave and bold theatre.
What do audiences for Shakespeare look like today? As theatres prepare to mark the 400th anniversary of the bard’s death, The Audience Agency reveals some valuable insights.
Families are key to audience development, but how do you attract them? Patrick Spottiswoode reveals how Shakespeare’s Globe plans to market a new festival to family audiences.
In some jobs, it’s normal for people to pour glitter over their heads and for babies to take over your desk. Flavia Fraser-Canon shows us a snapshot of her working week.
What does a tech week in theatre look like? Gary Wood, appearing in The House of Inbetween at Theatre Royal Statford East, offers a peek into his.
How many theatres offer audio description services to blind and partially sighted people? Matthew Cock carried out some research and is disappointed with his findings.
From Tamasha Theatre Company to the Free Word Centre, Bryan Savery traces the course of his career.
Encouraging individual giving may not make financial sense, but it’s helped Unfolding Theatre build invaluable relationships, says Annie Rigby.
Make full use of the senses – even those you don't have: Deafinitely Theatre’s Paula Garfield explains how to create theatre for deaf and hearing audiences.